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Dossier Elephant LYCÉENS GUS VAN SANT ET APPRENTIS AU CINÉMA ELEPHANT par Stéphane Delorme ÉDITORIAL Synopsis 1 Le réalisateur 2 Gus Van Sant Genèse 3 Document de travail Chapitrage 4 Analyse du récit 5 Elephant est certainement l’un des films les plus marquants, et les plus discutés, du début de siècle. Parti pris 6 Devant ce sphinx, la pensée hésite : dispositif ou Ouverture pédagogique 1 film, critique d’un système ou volute énigmatique, film à suspense ou contemplation détendue, Interprétation 8 accompagnement empathique ou froide mise à Ouverture pédagogique 2 distance ? Ce dossier essaiera de ne pas gommer la complexité mais de hiérarchiser et de préciser Mise en scène 10 ces idées. Gus Van Sant élit une position fonciè- Définition rement originale : observer, depuis un point après Ouverture pédagogique 3 la catastrophe, la marche vers la mort ; adopter une conscience sursignifiée du malheur à venir ; Analyse de séquence 12 lever la tête sur les lueurs scintillantes d’un monde qui touche à sa fin ; entourer ces Ouverture pédagogique 4 adolescents de tous les égards, y compris les plus meurtriers. Autant de partis pris qui font d’Elephant un événement. 1, 2, 3 14 Ouverture pédagogique 5 Figure 15 Ouverture pédagogique 6 Point technique 16 La coulée sonore Ouverture pédagogique 7 SOMMAIRE Filiations / Ascendances 17 Directeur de publication : Véronique Cayla. Propriété : CNC (12 rue de Lübeck - 75784 Paris Cedex 16 - Tél.: 01 44 34 36 95 - www.cnc.fr). Atelier pédagogique 18 Directeur de collection : Jean Douchet. Rédacteur en chef : Emmanuel Burdeau. Coordination éditoriale : Thierry Lounas. Conception graphique : Thierry Celestine. Iconographie : Eugenio Renzi. Auteur du Lecture critique 19 dossier : Stéphane Delorme. Révision : Pauline Chopin. Rédactrice pédagogique : Ariane Allemandi. Conception et réalisation : Cahiers du cinéma (9, passage de la Boule Blanche - 75012 Paris - Tél.: 01 53 44 75 75 - Fax. : 01 53 44 75 75 - www.cahiersducinema.com). Passage du cinéma 20 Les textes sont la propriété du CNC. Publication septembre 2007. Dossier maître et fiche élève sont à la disposition des Sélection personnes qui participent au dispositif sur : www.lyceensaucinema.org vidéo & bibliographie SYNOPSIS MODE D'EMPLOI Ce livret est découpé en deux niveaux. Le premier est le texte principal, rédigé par un membre de la rédaction des Cahiers du cinéma. Il se partage entre des parties informatives et d'autres plus strictement analytiques. L'accent y est porté sur la précision des rubriques, dans la pers- pective de dégager à chaque fois des cadres différents pour la réflexion et pour le travail : récit, acteur, séquence… ou en- Des adolescents déambulent dans les couloirs d’un lycée quelques minutes core : enchaînement de plans, archétypes avant que deux élèves ouvrent le feu : il y a John, fils malheureux d’un père de mise en scène, point technique, rap- alcoolique ; Nathan, le joueur de football populaire ; Michelle, le vilain canard ports du cinéma avec les autres arts, souffre-douleur ; Elias, le photographe déjà artiste. Les tueurs, Alex et Eric, ont etc. Variété des vitesses et des angles planifié leur crime. Mais lorsque la veille et le matin même, ils ont joué du d’approche : s’il veille à la cohérence, le piano, regardé la TV et commandé une arme sur Internet, à aucun moment discours ne saurait viser l’unicité. De même, l’éventail de ses registres – cri- ils n’ont mentionné les raisons de leur geste. Le massacre frappera au hasard ; tique, historique, théorique – ne prétend son issue restera suspendue. pas offrir une lecture exhaustive du film, mais propose un ensemble d’entrées à la fois locales et ouvertes, afin que ce livret puisse être pour le professeur un outil disponible à une diversité d’usages. Signalé par les zones grisées, rédigé par un enseignant agrégé, le deuxième niveau concerne la pédagogie proprement dite. Il se découpe lui-même en deux volets. Elephant Interprétation USA, 2003 Scénario, réalisation, montage : Gus Van Sant Alex : Alex Frost Image : Harris Savides Eric : Eric Deulen Son : Leslie Shatz John McFarland : John Robinson Producteur et assistant-réalisateur : Dany Wolf Elias : Elias McConnell Producteurs exécutifs : Diane Keaton et Bill Robinson Jordan : Jordan Taylor Producteurs associés : JT Leroy et Jay Hernandez Carrie : Carrie Finklea Casting : Mali Finn et Danny Stoltz Nicole : Nicole George Direction artistique : Benjamin Hayden Brittany : Brittany Mountain Costumes : Tamy Crooper Acadia : Alicia Miles Opérateur Steadycam : Matias Mesa Michelle : Kristen Hicks Ingénieur du son : Felix Andrew Benny : Bennie Dixon Nathan : Nathan Tyson M. McFraland : Timothy Bottoms M. Luce : Matt Malloy 1 LE RÉALISATEUR Gus Van Sant Filmographie 1985 Mala Noche 1990 Drugstore Cowboy 1991 My Own Private Idaho 1995 Even Cowgirls Get the Blues 1995 To Die For (Prête à tout) Cahiers du cinéma 1998 Will Hunting 1999 Psycho (Psychose) 2001 Finding Forrester Un Gus Van Sant versatile Coll. G.V.S. (À la rencontre de Forrester) 2002 Gerry La Palme d’or d’Elephant en 2003 apparaît comme un point d’orgue dans la car- (1997). Les deux acteurs ne sont que des inconnus quand ils proposent au 2003 Elephant rière d’un cinéaste touche-à-tout passant sans heurt des marges de l’indépen- cinéaste de mettre en scène leur scénario, l’histoire d’un génie caché qui entame 2005 Last Days dance au mainstream hollywoodien, et vice-versa. une psychanalyse. Neuf nominations aux Oscars, et Oscar du meilleur scéna- 2007 Paranoid Park Au début, le parcours est pourtant clair. Né à Louisville, Kentucky, en 1952, Gus rio : voilà consolidée la place du cinéaste dans l’industrie. Van Sant obtient un diplôme d’art à la Rhode Island School of Design. C’est la Tête brûlée, il en profite pour embarquer Universal dans un projet conceptuel grande époque du cinéma underground, qu’il s’empresse de découvrir, notam- arty qui n’a que l’apparence du coup commercial : Psychose (1998), remake plan ment à la National Film Archives de Jonas Mekas ; il se lance à son tour dans le par plan, en couleurs, du film d’Alfred Hitchcock. Il se remet en selle avec une court métrage (en Super 8), puis dans le moyen métrage avec Alice in Hollywood commande proche de Will Hunting, À la rencontre de Forrester (2000), mélo écrit (1981). Installé définitivement à Portland, Oregon, il réalise son premier long pour Sean Connery, sur l’amitié entre un homme vieillissant et un jeune Noir. d’après un roman culte, Mala Noche, de Walt Curtis. Filmé en noir et blanc dans Après ces quatre films de studio, le cinéaste reprend sa liberté. Il part dans le les rues de Portland avec des acteurs amateurs « chicanos », Mala Noche (1985) désert avec ses amis Matt Damon et Casey Affleck improviser un scénario qu’ils s’intègre brillamment au renouveau indépendant des années 1980 aux côtés de écrivent au jour le jour. L’histoire de deux garçons nommés « Gerry » qui se per- Spike Lee et Jim Jarmush, mais son sujet homosexuel l’empêche de toucher un dent dans le désert. Fondé sur une succession de longs plans-séquences souvent large public. Déjà perce l’influence du Hollywood classique (film noir, comédie mutiques, Gerry (2002) révolutionne sa manière de penser le cinéma. Il enchaîne musicale) et contemporain (le Coppola maniériste de Rusty James). avec Elephant (2003) et Last Days (2005), d’après les derniers jours de la vie de Le cinéaste entreprend un second film à petit budget, mais l’ambition des pro- Kurt Cobain. Les trois films forment une « trilogie de la mort », partant de faits ducteurs lui donne plus d’ampleur : Drugstore Cowboy (1989), avec Matt Dillon, divers et décrivant les dernières heures avant la catastrophe. Les inventions for- sur la vie quotidienne de junkies, rencontre un beau succès. My Own Private melles, même si elles ne cachent pas leurs influences (Bela Tarr, Frederick Idaho (1991), montage bigarré entre la vie de prostitués dans les rues de Portland Wiseman, Chantal Akerman) font de Gus Van Sant l’un des cinéastes contem- et Henri V de Shakespeare, impose définitivement le cinéaste. Bouleversé par la porains les plus importants. mort de son acteur principal, River Phoenix, Van Sant écrit un roman en son Il prête son nom comme producteur exécutif à des entreprises qu’il affectionne : hommage, Pink (1997), et lui dédie son film suivant, la bizarrerie farcesque Even Kids de Larry Clark (1995), Tarnation de Jonathan Caouette (2003). En 2006, il Cowgirls Get the Blues (1993), avec Uma Thurman, un échec public et critique s’occupe de la réédition de Mala Noche, invisible depuis sa sortie, comme si c’était cinglant. son nouveau film. Dans l’attente de tourner un film de studio (on a longtemps parlé de Starbucks Saved my Life avec Tom Hanks), il revient au festival de Cannes Jeunesse en 2007 avec Paranoid Park (prix du 60e anniversaire) produit par le producteur Mais Gus Van Sant est déjà ailleurs. Avec la satire, brillante, d’une arriviste français MK2, distributeur de ses trois films précédents. De la trilogie, ce portrait (Prête à tout [1995], avec Nicole Kidman), il opère sa mue hollywoodienne. Son d’adolescent conserve le plan-séquence, la narration circulaire et un travail so- cap dans la « cité des anges » restera la jeunesse : Joaquin Phoenix et Casey nore complexe. Mais l’histoire se resserre sur un récit d’initiation et un dilemme Affleck dans Prête à tout, puis Matt Damon et Ben Affleck dans Will Hunting moral plus classique. Avant de retourner à Hollywood ? 2 GENÈSE Document de travail De l’agit-prop à la Palme d’or Elephant de Alan Clarke 20 avril 1999 : Lycée Columbine à Littleton, Colorado, deux lycéens, Eric Après une telle expérience, le cinéaste jette le script de Tommy Gun. Davantage Très tôt, Gus Van Sant dessine un croquis Harris et Dylan Klebold, tuent douze personnes et en blessent vingt-quatre avant que sur les deux tueurs, il décide de se concentrer sur l’observation des élèves du lycée pour cerner les déplacements de se suicider.
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